I. Field of the Invention
The present invention relates generally to commercial studio portrait photography and, more particularly, to an automated control system and method for portrait composition that coordinates lighting aspects, backgrounds, subject location and synchronizes camera operation.
II. Related Art
Commercial studio portrait photography has evolved from the use of tripod-mounted cameras to hand-held cameras. In addition, subjects are being photographed on the floor with many different shades of backgrounds. These techniques have advantages, but serious exposure problems have also been encountered which affect product quality and impede required production efficiencies, particularly in high volume studios.
The problems are of several types. Subjects not on a predetermined pose line or mark can be over or under exposed. For example, if the subject(s) are in front of the pose line, they will be overexposed because they are closer to the lights. Conversely, if the subjects are behind the pose line, they will be underexposed because they are further from the lights. The use of different backgrounds also poses certain problems. The exposure of subjects on the floor varies with the use of light or dark backgrounds. Light backgrounds tend to overexpose the subject because of increased reflection of light onto the subject. Dark backgrounds, on the other hand, tend to lead to underexposed subjects because they absorb light that would normally be reflected onto the subject. Each shade of background (light to dark) requires a commensurate correct amount of background light illumination. For example, overexposing a black background by using too much “background light” causes a black background to wash out to a grayish color. Conversely, white backgrounds look grayish if underexposed by not having sufficient “background light”.
It has also been found that often subjects are photographed too fast, that is, the exposure is made before the illuminating lights can properly recharge, for example, which causes underexposure. This is particularly true in the case of recharging strobe power packs.
Variations also occur due to the location of the lights relative to the subject being photographed. Thus, photographing subjects on the floor requires the photographer to move the lights down, otherwise the subject will be underexposed. Conversely, if the subject is standing, the lights need to be moved up or the subject will be overexposed.
Other lighting parameters which affect the quality of studio portrait photography include the positioning of studio lighting and variation in “lighting ratios”. “Lighting ratios” is a term used in the art to describe the relative differences in power between the main and fill lights used in photographing a subject. The “main light” refers to the lights used to generally illuminate the subject (equivalent to the sun in outdoor photography). This light is generally controlling and is what the photographer starts with when composing the scene in a photograph. “Fill lights” are non-directional lighting used to highlight the scene or subjects(s). The “lighting ratio” refers to the relative ratio between the main and fill lights. The skilled photographer needs to know what ratios are best for what situation and how to mathematically calculate these values. For example, a 1:2 lighting ratio (flat) provides excellent results when photographing family groups. On the other hand, a 1:7 lighting ratio (high contrast) is preferred for dramatic individual low-key photography (black background). It has also been found that the position of the main light relative to the subject(s) is critical to the lighting ratio chosen and to the background that is chosen.
Given the above, it will be readily recognized that there are many important variables with which the photographer must deal in order to achieve consistent high quality photographs. Compound this with the need for a rapid throughput in high-volume commercial portrait photography business which puts a heavy burden on the photographer. Even small, low-volume studios find dealing with all the variables, combinations and situations very difficult to manage successfully.
Integrating all the available tools including the ability to change lighting ratios presents a definite sustainable competitive advantage, and automation of such techniques would be a very desirable improvement. Such automation would also facilitate training of photographers to achieve uniform excellent results.